Film_Fatale

> {quote:title=filmlover wrote:}{quote} > *Well, now we have our answer. CelluloidKid read the message and ignored it. So we know now he is in only to have his name appear on threads, no matter how much useless and repetive infomation he posts, and that he doesn't wish to be a member in good standing in this forum.* > > *I said in the message below that I posted that he has been ignoring other members wishes here and has been doing so for months. We have been having trouble with him since at least February. That is almost half a year. I feel we can all now write to the TCMWebAdmin now without any concern that maybe he didn't understand. We now know he wishes to be disruptive to this forum and always has.* Sad, but true.

> {quote:title=MissGoddess wrote:}{quote} > FYI----Ford's last film, *7 Women*, is airing August 6th at 12:30 p.m. on TCM. Thank you for the reminder, I'd really like to TiVo that.

> {quote:title=markfp2 wrote:}{quote} > Maybe they figured that for an extra $2.50 admission folks would be upset if they just gave them cardboard glasses. Still, I'll bet the ones they gave out didn't cost them more than a quarter. I'm not sure I follow your logic. Why did the subject of the glasses being made of cardboard or plastic come up? I think the actual reason it is more expensive might have more to do with the projection logistics, but I could look more into it to be sure.

I enjoyed it all the way and didn't find the plot to be dull at all; although one could argue that the plot itself isn't nearly as important as the relationship between Scully and Mulder.

The Ziegfeld is an awesome theater.

> {quote:title=filmlover wrote:}{quote} > Popeye the Sailor Vol. 1 1933-1938 > Have you had a chance to watch Vol. 2 yet?

> {quote:title=ccbaxter wrote:}{quote} > > {quote:title=Film_Fatale wrote:}{quote} > > ...kind of sad sometimes to think that this was practically Cagney's last movie. > > I found it interesting that is was during this picture he made up his mind to get out of show business. I guess Billy Wilder drove him a little crazy, but that wasn't the only driving force. [(TCM article)|http://www.tcm.com/tcmdb/title.jsp?stid=17693&category=Articles] > > Great film. I haven't read that article yet, but thanks for pointing that out.

I like the *Hellboy* movies but don't really think of them as horror flicks.

I enjoyed watching the 4 movies on the Eclipse box set very, very much. You just can't beat the Lubitsch touch.

Did they show it in 70mm?

I like it very much and I think it's one of Wilder's best movies. But it's kind of sad sometimes to think that this was practically Cagney's last movie (if you don't count his appearance in *Ragtime* nearly 20 years later).

I like it quite a bit, too -especially when people post about it in lowercase.

I think this has been completely debunked. There's already 2 threads on this in "Hot Topics" - the first one was started around July 24.

> {quote:title=gagman66 wrote:}{quote} > A KISS FOR CINDERELLA (Paramount, 1925) Esther Ralston, Betty Bronson, Mary Brian. Directed by Herbert Brennon. William K. Everson listed this as one of the top films of the Silent Era. The movie exists, but unlike Brennon's earlier PETER PAN (Paramount, 1924) is not on DVD, and doesn't figure to be anytime soon, if ever? Was it ever released in any video format, before DVD?

> {quote:title=visualfeast wrote:}{quote} > I always thought that Virginia Huston and Carole Lombard looked a lot alike. Got photos?

Do you even bother reading the thread before you post?

An excellent little movie about an Egyptian police band visiting Israel, *The Band's Visit* explores cultural differences in the Middle East in a way that I think should be compelling even to those of us who don't know much about these cultures. It also won the Un Certain Regard prize at Cannes.

I'd say it's more than just watching it on a big screen - it's watching it projected in 70mm in a large screen, if possible. Very few theaters in the world still have 70mm projectors, from what I've read.

Didn't David Lean himself supervise the restoration and prefer the 216-minute version?

> {quote:title=TripleHHH wrote:}{quote} > I cant imagine how Blu Ray can make a 50-70 yr movie any sharper, but thats just my opinion The age of the movie shouldn't matter at all because most movies these days are still filmed in 35mm. If the transfer is done right, from an original negative or other good source, then there should be a noticeable improvement. Some people may be disappointed in the look of a well-transfered 35mm movie simply because they compare it to stuff that doesn't involve film at all - like the animated movies from Pixar or Dreamworks, which look flawless in HD because they were made digitally.

> {quote:title=MissGoddess wrote:}{quote} > > Hmmm...that's tempting. I actually have no idea how much Blu-Ray players cost, are they > very expensive? I keep putting off even considering one since so much of my dvd viewing > consists of scratchy old black-and-white movies. I'm afraid they would look worse on Blu-Ray, > if they even play on those machines. Haven't checked prices lately; last I checked they were in the $400 range or higher for more fancy models. But they're widely expected to be reduced significantly in time for the holidays. And, yes, I think any BR player will play regular DVDs (and even upscale them at that). There are more and more classic movies available on BR every day, though a few titles that would really appeal to classic movie fans are not there yet (like *Lawrence of Arabia*, which will look awesome if they don't screw up the transfer).

TiVo'd *The Two-Headed Spy* earlier today, so happy TCM finally was able to show this Columbia title!

This NYT article caught my eye and may be of interest to anyone who might be able to attend the retrospective at BAM: http://www.nytimes.com/2008/08/01/movies/01goul.html *An Angsty Leading Man Who Caught the Spirit of His Times* August 1, 2008 An Angsty Leading Man Who Caught the Spirit of His Times By DENNIS LIM At the busy height of his unlikely career Elliott Gould was as much an embodiment of the times as a movie star. As the 1960s faded into the ?70s, Mr. Gould appeared in role after role that seemed to crystallize the ideals and anxieties of the era. He played a reluctant swinger and an avid philanderer in the free-love comedies ?Bob & Carol & Ted & Alice? (1969) and ?I Love My Wife? (1970). With opposition to the Vietnam War cresting, his character in ?MASH? (1970), the irreverent Army medic Trapper John, became an instant anti-establishment hero. Within days of the Kent State shootings he was on screens as a radicalized graduate student in ?Getting Straight? (1970). Mr. Gould, who turns 70 on Aug. 29, is being honored in his native borough, Brooklyn, with a series at BAMcin?matek that takes its title, ?Elliott Gould: Star for an Uptight Age,? from a September 1970 Time magazine cover. Mr. Gould will appear for two question-and-answer sessions as part of the tribute, which runs from Friday through Aug. 21 and features 10 films, all made between 1969 and 1976. This was a tumultuous period for Mr. Gould, beginning with his swift rise from the Broadway minor leagues to the studio A-list, a vanguard figure of what the critic J. Hoberman has called ?Hollywood?s Jew Wave,? the ?leading man as schlemiel.? But after an intense experience working with Ingmar Bergman, Mr. Gould went on an existential walkabout, eventually returning from the wilderness with the help of his friend Robert Altman. On the phone from his home in Los Angeles, Mr. Gould spoke warmly of the movies in the series. ?The films hold up as social comments in relation to what seemed to be a changing world,? he said. On the matter of being a generational symbol, though, he was more tentative. ?For an awkward audience that didn?t necessarily understand the order of things,? he said, ?I would perhaps say I was someone to identify with. One of the things about me is that I?m vulnerable. You can see through me.? That touching transparency is central to Mr. Gould?s appeal both on and off screen. He has long been prone to bouts of public introspection. The 1970 Time profile pins its subject to the psychoanalytic couch, coaxing out details of his childhood in Bensonhurst, the only son of immigrant parents who had high hopes for his showbiz career, and his failed marriage to Barbra Streisand, whose early stardom saddled him with the nickname Mr. Streisand. ?I?m a little embarrassed about all that now,? he said. ?I let myself be known before I understood myself. But had I understood what I was doing, I couldn?t have accomplished it.? There was certainly an element of bravado in some of his early career decisions. For ?Little Murders? (1971), a dark farce based on a Jules Feiffer play, Mr. Gould approached ? and briefly secured ? Jean-Luc Godard to direct. ?I wanted someone really avant-garde,? he said. But the relationship with the irascible Mr. Godard soon foundered. Mr. Gould said, ?I told him: ?Look, the establishment here does not want to work with you. I want to work with you, and the establishment wants to work with me.? ? (Mr. Godard?s response, as Mr. Gould tells it, is not printable.) The studio ended up installing the actor Alan Arkin as director. ?Elliott was a dream as an actor and a producer,? said Mr. Arkin, who added that the characterization of Mr. Gould as an emblem of uptightness was misleading. ?I?ve always thought he had a looseness about him.? That easygoing quality is perhaps best showcased in the films Mr. Gould made with Mr. Altman. The partnership did not begin smoothly. Mr. Gould and his ?MASH? co-star Donald Sutherland found Mr. Altman?s improvisatory method off-putting and wanted him fired. ?Sutherland and I both took ourselves a little too seriously,? Mr. Gould said. ?But luckily I came around. Bob opened everything up for me.? Mr. Gould and Mr. Altman teamed up for four more films, including ?California Split? (1974), in which Mr. Gould and George Segal play compulsive gamblers, and ?The Long Goodbye? (1973), a revisionist update of Raymond Chandler with Mr. Gould?s indelibly mournful take on Philip Marlowe. It was perhaps his definitive performance. He has recorded numerous Chandler books on tape since and said he hoped to play Marlowe again, in an adaptation of ?The Curtain,? one of the stories that inspired ?The Big Sleep.? Listening to Mr. Gould talk, it is hard not to hear traces of Marlowe?s gently rambling voice-over in ?The Long Goodbye.? He speaks almost in a stream of consciousness, interrupting himself to remind his interviewer that he hasn?t forgotten the question and breaking off anecdotes to ask, ?Have you read this somewhere before?? The film from the BAMcin?matek series that he was most eager to discuss was ?The Touch,? Bergman?s first English-language movie, which Mr. Gould flew to Sweden to shoot right after landing that Time cover. ?I remember just about everything about it,? he said, starting with the dread that overcame him when he read the script and came to a sex scene that required him to strike his co-star Bibi Andersson. ?I immediately got a migraine.? Mr. Gould said he relished playing an atypical role ? an alienated Jewish-American academic who wrecks the marriage of a Swedish couple ? but was emotionally ill-equipped to handle the shoot, and realized that Bergman might have cast him precisely for that reason: ?Ingmar came laughing to me one day with a picture of my character, who?s an archaeologist, dusting off a skull. He said, ?Bring this to your analyst in New York and tell him it?s Elliott finding himself.? ? Whether or not Mr. Gould found himself, he came home with his perspective altered. He withdrew from an expensive Warner Brothers project, his production company folded, and he went for more than a year without work, eventually resurfacing with ?The Long Goodbye.? (The studio, United Artists, insisted he first take a sanity test.) Bergman later dismissed ?The Touch? as a low point of his career, but the film has special resonance for Mr. Gould. (It has been out of circulation for years, and BAMcin?matek will be screening Mr. Gould?s own print.) As the memory of his ?70s heyday receded, Mr. Gould matured into an inventive character actor, staying visible in recent years with recurring roles on ?Friends? and in Steven Soderbergh?s ?Ocean?s? series. He had successful hip replacement surgery and is, he pointed out more than once, a proud grandfather. ?I?ve always been interested in participating and functioning as an older person,? he said. ?The idea is to continue to work. The work is the life. It?s how I learned about the world.?

Netflix suscribers interested in getting a BR player in the near future may be interested in this bit of hardware news: Finally today, in a little bit of hardware news, LG has just announced that their forthcoming BD300 networked Blu-ray Disc Player, due to hit stores here in the States this fall, will not only be a full profile 2.0 Blu-ray player... it will also allow you to connect to NetFlix's servers to stream thousands of movies and TV episodes through the player for viewing on your TV. Pretty interesting.

> {quote:title=lzcutter wrote:}{quote} > 'd like to see Warner Home Video do a complete digital restoration on this one from the ground up.>> > > Didn't they do that a few years ago when they released all three films in the box set? > > Or am I mis-remembering? I think they did. Not only that, but the Box Set has since been re-issued on Blu-Ray, I think.